All that glitters: The early film career of John Schlesinger.
This article argues the progress of John Schlesinger (1926-2003) as a film artist, up to and including The Day of the Locust (1975), was dependent on whether he was willing to settle for surfaces or whether he would insist on an inner rationale and validity for his work: whether he would build upwar...
| Publicado en: | Journal of European Popular Culture Vol. 2; no. 2; pp. 143 - 153 |
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| Formato: | Artículo |
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Intellect Ltd.
Jul2011
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=77733539&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 77733539 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 20406134 90BD jtl: Journal of European Popular Culture issn: 20406134 maglogo: N pubinfo: dt: Jul2011 vid: 2 iid: 2 pid: 12270 pub: Intellect Ltd. artinfo: ui: 77733539 10.1386/jepc.2.2.143_1 ppf: 143 ppct: 10 formats: fmt: @attributes: type: P size: 332KB tig: atl: All that glitters: The early film career of John Schlesinger. aug: au: Cardullo, Bert su: Schlesinger, John, 1926-2003 Filmmakers Day of the Locust, The (Film) Yanks (Film) Honky Tonk Freeway (Film) Career development sug: subj: Schlesinger, John, 1926-2003 Filmmakers Day of the Locust, The (Film) Yanks (Film) Honky Tonk Freeway (Film) Career development keyword: 'Angry Young Men' 'New Cinema' British cinema John Schlesinger literary adaptation social realism ab: This article argues the progress of John Schlesinger (1926-2003) as a film artist, up to and including The Day of the Locust (1975), was dependent on whether he was willing to settle for surfaces or whether he would insist on an inner rationale and validity for his work: whether he would build upward from the most stringent perceptions towards a virtuoso display of them, or begin at the top with slickness and add just enough clever dialogue and facilely bitter comment to provide marketable Weltschmerz for popular audiences worldwide. In the end, Schlesinger settled for surfaces - sometimes far less - in a career that, by the time of Yanks (1979) and Honky Tonk Freeway (1981), could only descend from so much slickness into lamentable sorriness. By considering this British director's first three, and best, films - A Kind of Loving (Schlesinger, 1962), Billy Liar (Schlesinger, 1963) and Darling (Schlesinger, 1965) - I propose to demonstrate how each of this trio of works holds both the promise of cinematic growth and the prospect of directorial delinquency into which Schlesinger would ultimately decline. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal of European Popular Culture is the property of Intellect Ltd. and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal of European Popular Culture holder: Intellect Ltd. dt: @attributes: year: 2011 holdings: @attributes: islocal: N |
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